Sentences with phrase «aesthetic beauty of»

The stunning allure of the ocean combined with the aesthetic beauty of this estate will redefine Luxury Oceanfront living.

Despite local opposition in Somerset that «Hinkley Point C» will destroy the aesthetic beauty of the Somerset coastline, the government is supporting, and perhaps pressuring, nuclear power in the UK with the development of «Hinkley Point C».

Fascinated by the endless inventiveness and aesthetic beauty of Bill Traylor's work, Charles Shannon organized Traylor's first exhibition in 1940 at New South — an arts center in Montgomery founded by Shannon and others.

These oil on canvas visions of flattened images slow down the viewing process, allowing the viewer to revel in the pure aesthetic beauty of line and color.

Through sumptuous renderings of the Vietnamese landscape and culture, Irish celebrates the aesthetic beauty of the country and her devotion to create artwork that rescinds the effects of war.

The viewer is confronted with the aesthetic beauty of the flames on one hand and the knowledge of the crimes by Nazi Germany on the other.

Crimes of passion can be pardoned and so looking back to that exhibition, we can only be impressed by the varied aesthetic beauty of these performances.

The downside to this is that as soon as the player ceases to be engaged in the collection, the intrinsic greed that originally kept them searching falls by the wayside and the longer journeys can begin to become tiresome unless the player is able to enjoy the sheer aesthetic beauty of the landscape — and this becomes much tougher when the player is intermittently accosted by enemies.

Then it's time to look back at the quaint aesthetic beauty of the old town.

I will enjoy the aesthetic beauty of the pro shots but will be happy when you bring back the selfies!

Commissioner for Tourism, Arts and Culture, Mr. Steve Ayorinde in a statement, said the remodelling of the magnificent Gani Fawehinmi statue was part of the State's strategy to enhance the aesthetic beauty of open public spaces and parks across the state and to celebrate and immortalise worthy icons that contributed immensely to the development of Lagos State.

They add to the aesthetic beauty of the product as well.

Not exact matches

That the bragging happened a decade ago doesn't change the reality that a man who might be president sees half the country's population not just as objects for his own aesthetic gratification — we knew that thanks to the beauty pageants and the string of model wives — but objects for his physical gratification as well, regardless of how the women in question feel about it.

Japan — which has its own troubles with perfectionism — has a gorgeous history of wabi sabi, an aesthetic sense wherein cracks in clay or wrinkles in skin are signs of beauty.

The aesthetic character of reality means that every worldly value - experience contributes to the divine totality partly through the beauty that it actualizes and partly through its contribution to the beauty of subsequent occasions.

Given the distinctiveness of human existence and the aesthetic character of reality, it follows that greater beauty is served insofar as subhuman existence is so ordered as to maximize the possibilities of happiness.

Again and again the quality of a service of worship is judged by the kind of music the choir renders, the aesthetic fitness of the minister's voice or vestments or manner, the beauty or ugliness of the sanctuary, the general decorum with which everything is done.

This is a broad term, but we shall use it to designate the expression of the human aesthetic impulse, in both the creation of works of beauty and a love for and appreciation of beauty.

The definition of art as the effort to exalt some beauty in nature, but not to enslave man to mere imitation, is Camus» aesthetic equivalent to the notion of a dynamic value in nature.

His rejection of independently existing substance in favor of a universe in which all entities are related, the idea of actual entities as valuing subjects prehending and creating themselves Out of the feelings of other subjects, the declaration that the most basic form of order is aesthetic, and the insistence that the lure toward beauty and adventure is a primary drive in the process of reality, are all examples of Whitehead's fundamental insight that to be is to be related, to exhibit some degree of beauty in those relationships, and to have the power both to affect and to be affected.

The sense of beauty is a positive response growing out of a relationship of the person to the aesthetic object.

The aesthetic awareness of Wieman, which he had learned in part from Whitehead, was specifically stated in the chapter on Beauty.

Because I take seriously Whitehead's claim that the most fundamental order of reality is aesthetic, and the attendant doctrine that «The real world is good when it is beautiful» (AI, Chapter XVIII, Section III), I want to propose that we use the category of beauty as the norm in constructing our images of person - hood and of personal and communal relations.

In the project of self - creation throughout his life, man must strive to bring these values into aesthetic harmony aiming at intensity of feeling both in its subjective immediacy and in the relevant occasions beyond itself to achieve objective immortality.63 And man realizes that to achieve his individual destiny he must create civilizations which embody truth and beauty.

It is apparent in an art which is capable of turning even Campbell soup - cans into objects of artistic representation (Warhol), or in a music which discovers aesthetic value in common noises and in listening to silence (Cage), or in a photography which captures the beauty of doorknobs and cracked walls, driftwood and wrinkled faces.

Beauty is felt when there is some congruence between the aesthetic object and the observer's pattern of sense perception and related responses.

This is primarily because it has proven to be a powerful aid in the effort to avoid dealing with works of art or literature as products of the human spirit: aesthetic objects that move us with their intricately wrought beauty, humor, and insight.

I will state dogmatically: no one has ever succeeded in making sense out of the idea of an aesthetic value so great that all possible beauty is already in it.

Then there are grades of aesthetic beauty which constitute the ideals of different schools and different periods of art.

Each and every actual entity is a concrescence of given elements under the aegis of an aesthetic impulse toward order, meaning, and value, i.e., toward the emergence of Beauty.

And, since Whitehead was more explicit on the status of beauty, we might make Russell's aesthetic explicit.

Aesthetic value, in the sense of the beauty of experience, is the primary issue.

Of course, «beauty» does not refer to the aesthetic properties of nature or art as sucOf course, «beauty» does not refer to the aesthetic properties of nature or art as sucof nature or art as such.

The unique, trans - aesthetic meaning Whitehead attaches to «beauty» has caused much misunderstanding of his value theory.

Of a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautOf a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof the fact that we can recognize right and wrong and perceive beauty.

The rites have become a more vivid visual and aesthetic catechesis for a culture whose thirst for the integral beauty of truth is in equal measure with its deprivation of it.

Whitehead's solution to dealing with (aesthetic) evil (disharmony) is the introduction of a third system of prehensions which heightens Beauty and heightens Evil into a greater harmony.

There is beauty and simplicity in the laws of nature, and an aesthetic element in the response of the scientist.

Beauty, the name of this all - embracing value, can not be interpreted simply in terms of aesthetic categories.

Moreover, he corrects Plato, who said that love is the search for supreme beauty, and declares that love simply is the supreme beauty.39 In addition, he avers that the whole range of emotional and aesthetic experiences in whatever sensory form can be interpreted most illuminatingly as the manifestations and self - enjoyment of love.40

From an aesthetic point of view, the cross is not itself a beautiful thing, but it is the symbol of a beautiful act, that of the self - giving of the Son of God incarnate out of love for the Father and for fallen creation, in order to restore the beauty of what He had made but sin had marred.

Hence we may therefore speak of an «aesthetic conversion'that takes place when we recognise beauty not merely as that which produces feelings of pleasure, but as «form», understood as «perceivable order, intelligibility and value».

Finite beauty powerfully points towards the infinite but unreachable beauty of God, arousing in us who experience it both joy in possession, and pain in the perceived absence, of the one to whom we may be drawn and directed by a particular aesthetic event.

Creative intimacy often is linked to aesthetic intimacy in that what is created together is something of beauty — a garden, a house, a musical expression, a painting.

One who has earnestness and inner spiritual resources can let his soul be lifted by such beauty as is present, get along without what is absent, and avoid confusing aesthetic pleasure with the beauty of holiness.

This separability is a fault not only because it violates the aesthetic principle of unity, held in some form by any theory of beauty.

So it must be admitted that in maximizing the aesthetic intensity of the cosmos and of the experiences that make up the cosmos, God may be held responsible for at least some of the chaos that occurs in the cosmic process.28 If God had not lured the process further in the direction of expanding its value (beauty), life and consciousness would never have appeared in evolution.

Moreover, Hartshorne's optimism and his aesthetic passion are voiced in his declaration that the truth which metaphysics discloses is both good and beautiful and that it can never be evil or ugly or objectionable.6 In tones reminiscent of Plato, he affirms, «Metaphysical truth is in some fashion a realm of beauty unsullied by any hint of ugliness.

In short, it is the aesthetic dimension, the beauty portrayed in the mind and story of Jesus that calls forth a distinctively religious rather than merely ethical response from the Christian believer.

In our aesthetic teleology the individual's suffering is granted a significance in terms of and in the context of a universal cosmic beauty.